The early 70's may be thought of as the "golden age" of
progressive rock. Certainly it was a time when the output from
various prog groups such as Yes and Genesis approached wholesale
quantities. The volume and scope of the music from this era makes
picking a flower or two from the musical field a little daunting.
However, there are always a few flowers that stand above the rest.
Selling England By The Pound is one of these.

I often hear comments that tend to group the bands from this era
into one big prog rock pile; a sort of cluttered closet filled with
dusty, yet, highly valuable works of art. Yes, Genesis, King
Crimson... they are all prog and they are all different. Genesis,
in terms of prog rock formats, are the true story tellers of this
immensely talented and, some might say, occasionally over-ambitious
group of musicians. Selling England by the Pound consists of one
vignette after another. From the timeless story of male and female
caught up their eternal struggle against, and for, each other as
embodied in "Cinema Show", to the slapstick violence of gang
warfare in "The Battle Of Epping Forest"; Genesis of the early 70's
could tell stories like no other group could.

Putting this album in context is no easy task. For even during
this time of experimentation and the juxtaposition of so many
talented individuals to create a new genre of music, here is a
group with not one but two future soloists of immense import. Peter
Gabriel takes on the lead vocals and Phil Collins shines on drums.
With the astonishing skill of guitarists Mike Rutherford and Steve
Hackett and the perennially underrated keyboard maestro Tony Banks
rounding off this musical cornucopia, Genesis of this era put an
incredible array of talents to work helping to define what is now
known as progressive rock.

Gabriel would leave the group shortly after the next album (
The Lamb Lies Down On Broadway) which in itself was a much
harder edged musical weapon than is this album. Therefore,
Selling England By The Pound can, in many respects, be
thought of as the last of the classical prog rock albums from this
group. This album has an ancient feel to it; old wood and faded
gold with ruby inlays... Where Yes is the bullet train of prog,
Genesis (and this album in particular) is the Orient Express.

There are four tracks that stand out, but for different
reasons.

"I Know What I Like (In Your Wardrobe)" doesn't make much sense
as a song title but this is the only early Genesis song that
approached "hit" status in terms of radio play. Based loosely on
the cover art painting, this is a story of a lawnmower who, while
resting on a bench under the hot sun during his lunch break, mulls
over various episodes of his life. Variously chastised and tempted
by the voices in his head, he ends his trance by firmly asserting,
to himself one supposes, "Me, I'm just a lawnmower / you can tell
me by the way I walk."

"The Battle Of Epping Forest" has a comically violent feeling as
an undercurrent to some incredible vocal gymnastics by Gabriel.
However, the most interesting thing about the song are the hints of
the next step in the Genesis evolution (
The Lamb Lies Down On Broadway) that shine through here and
there. It's almost like watching the change in style occur before
your eyes. The lyrics are thought provoking and slice straight to
the futility of this, and all, violent encounters: ".. "There's no
one left alive / must be draw. So the Blackcap Barons toss a coin
to settle the score."

"Cinema Show" has some of the best harmonies this group ever
created. Describing the struggle of male and female using a
contemporary example broadened to include a much more eternal
message. Coupled with one of the best examples of Banks's keyboard
mastery and incredibly intricate percussion work by Collins, the
extended instrumental part of this song alone is worth the price of
admission.

"More Fool Me" stands out as the track that should not have
been. Its whining demeanor and thin vocals supplied by Collins
(shades of things to come?) make me wish it had been saved for an
album where it would not have ruined the mood.

As with any good prog album you are going to be torn in many
directions due to the sheer talent displayed by the artists but if
you want to focus on one thing, make it the keyboards. Tony Banks
proves once and for all on this album that he is a match for any
prog keyboardist of the time and he does it without the speed
washed flourish of Wakeman or the synth heavy sound of Emerson.
"Class" is what he exudes and perhaps that adjective best describes
the whole album.